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The Future of Indigenous Museums
Indigenous museums and cultural centres have sprung up across the developing world, and particularly in the Southwest Pacific. This book looks to the future of museum practice through examining how these museums have evolved to incorporate the present and the future in the display of culture.
New Museums and the Making of Culture
In the last decade, museums all around the world have been reinventing themselves. They are now much more than scholarly, cultural archives. A remit to reach out to a broader public, the increasing politicization of the ownership and curation of objects, the architectural expectations of new buildings, the requirements of the "event exhibit"...all have changed the way any new museum is built, operates and serves its public purpose. Museums now reflect global economics and local politics. New museums now shape our public culture.Illustrated with a very wide range of museums and museum spaces - from MOMA in New York to the reconstruction of Ground Zero, from the National Museum of the American Indian in Washington DC to the Museo Guggenheim Bilbao, from the planned renewal of the Crystal Palace site in London to the Sendai Mediatheque in Japan - the book reveals how the new museum is evolving as a cross-disciplinary, self-consciously political, and often avowedly self-reflexive institution.
Hunting the Gatherers
Between the 1870s and the 1930s competing European powers carved out and consolidated colonies in Melanesia, the most culturally diverse region of the world. As part of this process, great assemblages of ethnographic artefacts were made by a range of collectors whose diversity is captured in this volume. The contributors to this tightly-integrated volume take these collectors, and the collecting institutions, as the departure point for accounts that look back at the artefact-producing societies and their interaction with the collectors, but also forward to the fate of the collections in metropolitan museums, as the artefacts have been variously exhibited, neglected, re-conceived as indigenous heritage, or repatriated. In doing this, the contributors raise issues of current interest in anthropology, Pacific history, art history, museology, and material culture.
An Ethnology of the Admiralty Islanders
In 1931-32, Alfred Buhler (1900-81), who for many years was director of the Museum of Ethnology and the Swiss Museum of European Folklife, in Basel, assembled a unique collection documenting the culture of the Admiralty Islanders. The Admiralty Islands are located on the northern edge of the region of Melanesia, and today constitute the Manus province of the independent State of Papua New Guinea. In this book, commissioned by the Museum der Kulturen in Basel, Sylvia Ohnemus for the first time presents the results of Alfred Buhler's collecting and study expedition, which she complements with her own contributions based on information gathered in the field.
Arts of Vanuatu
This prodigiously diverse and living culture has for its spiritual source a single traditional vision central to which is the fact that the world belongs not to the living, but to the ancestors. In Vanuatu art we have the construction of canoes and of standing slit-drums, the inventiveness apparent in the masks and mats, the aesthetics of dress, the raising of tusker pigs, the sharing out of sea-turtle meat, the symbol of the hawk representing the outward sign of the possession of the world through the eyes of the departed. This art, sacred in inspiration, takes root in the magic of each place and shore. Arts of Vanuatu is the first major contemporary anthropology work covering such a range of topics. It is also the first work covering the traditional art of the former South Pacific island colony of the New Hebrides.
Unfolding the Moon
This acknowledgment that "women have kastom too," widely welcomed by rural ni-Vanuatu, was an important step in establishing women's kastom."--BOOK JACKET.
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Art and Performance in Oceania
The Fifth International Symposium of the Pacific Arts Association, titled "Art, Performance, and Society," called for papers in sessions dealing with "Production and Performance," "Social and Cultural Context," "The Record and the Remainder," and "The Mission of Museums." In all, some sixty papers were presented, twenty-four of which have been included in this book. The first two topics elicited several papers that explored the creative process, including the description and analysis of performance, and the taxonomy of objects used, the transmission of cultural knowledge, and the identity and work of individual artists. The second two topics provided the opportunity for papers on some significant early museum collectors and collections, various methods of documenting cultural material (such as photography), how cultural material has been and can be exhibited, and the role of museums and cultural centers in Pacific Island countries.
Artistic Heritage in a Changing Pacific
“The great value of [this work] is the uniformly high quality of papers and their revelation of contemporary trends in Oceanic art research.” —Ethnoarts
Engendering objects
Engendering objects explores social and cultural dynamics among Maisin people in Collingwood Bay (Papua New Guinea) through the lens of material culture. Focusing upon the visually stimulating decorated barkcloths that are used as male and female garments, gifts, and commodities, it explores the relationships between these cloths and Maisin people. The main question is how barkcloth, as an object made by women, engenders people’s identities, such as gender, personhood, clan and tribe, through its manufacturing and use. This book describes in detail how barkcloth (tapa) not only visualizes and expresses, but also materializes and defines, people’s multiple identities. By ‘following the ...
